The work of the Texans at the Whitney Biennial includes paintings, bronze sculptures and video productions.

ECONOMIST: Forget the cowboy boots

The Whitney Biennial has been called a lot of things since it began, as an Annual, in 1932.

NEWYORKER: Not Like the Other Ones

When you go to the big exhibits, whether it's the Whitney Biennial or the New Museum Triennial or the contemporary art fairs, Native artists aren't represented.

WSJ: Changing Hands | We Are Here! | Native, North American, New | By Lee Rosenbaum

Three years after that, he exhibited his work in the Whitney Biennial, an artistic endorsement he would accept seven more times over the course of his career.

WSJ: Mike Kelley: The Escape Artist

ABSTRACT:THE ART WORLD review of the Whitney Biennial.

NEWYORKER: Not Like the Other Ones

That's a tough challenge for an art museum to master, as was evident at the recent Whitney Biennial, which introduced performances, inevitably time-limited, trying to demonstrate the importance of an artist not being limited to a specific medium.

WSJ: The Concrete Challenges of Abstraction | Inventing Abstraction | By Tom L. Freudenheim

The end of a bi-polar American art world is what the 2000 Whitney Biennial at least glimpses.

ECONOMIST: Forget the cowboy boots

For the first time, the Biennial selection was farmed out to curators from outside the Whitney, none of whom live in New York or Los Angeles.

ECONOMIST: Forget the cowboy boots

The show didn't sell especially well, but after More Love and The Wages of Sin debuted in that year's Whitney Biennial it never left.

WSJ: Mike Kelley: The Escape Artist